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The Climate Crisis Documentary with a Positive Spin There is value in a documentary about the environment and the climate crisis that does not simply indulge in hand-wringing, anger and despair. Fredi Devas’s film, presented by Benedict Cumberbatch in London’s National History Museum and composed of segments from different contributors, focuses on real, positive measures that individuals and communities can take – or begin to take – to make a difference. Exploring Practical Solutions The film revives the issue about meat eating, which requires colossally destructive land clearance for the cattle involved, but it doesn’t simply try to make people feel guilty for liking meat. Plant-based substitutes for meat like mycelium are not good enough yet, we hear, but improvements are being made all the time. Bio-investment initiatives are discussed – business models which are linked to regenerating the natural world, the source of raw materials. Grassroots Efforts and Urban Green Spaces The film interviews a forest healing instructor in South Korea who uses woodland spaces for therapy; of course, it’s tempting to do jokes about “tree hugging” and yet who can doubt that these natural places are indeed restorative? Naturalist and broadcaster Dan O’Neill is shown visiting Singapore and instead of throwing up his hands in horror at this turbo-capitalist place where people can reputedly be severely reprimanded for spitting gum on the pavement, he praises its policy of integrating green spaces into the urban environment. The Road Ahead When all is said and done, it is still probably the case that big top-down measures are going to have to be taken by G7 governments, but this film shows that grassroots thinking still plays a part. Release Information Release Date: 26 June (in UK cinemas)

The Lead The film '500 Miles' is a family tearjerker about two brothers who embark on a 500-mile journey to visit their Irish grandad, played by Bill Nighy. The Film's Premise The movie, adapted from Mark Lowery's novel Charlie and Me, follows teenager Finn (Roman Griffin Davis) and his younger brother Charlie (Dexter Sol Ansell) as they run away from home after overhearing their separating parents (Clare Dunne and Michael Socha) arguing about custody. The Journey Unfolds The brothers set off on a journey from Sheffield to Dingle on the west coast of Ireland, where their grandad John (Nighy) lives. Along the way, they encounter various characters, including a busker played by Maisie Williams, who adds a touch of whimsy to the film. The Emotional Core The film explores themes of family, trauma, and redemption, as the brothers confront a tragedy from their past that has caused a rift in their family. However, the film's emotional impact is somewhat diminished by its predictable and sentimental plot twists. The Verdict Overall, '500 Miles' is a heartwarming but emotionally manipulative film that will likely appeal to fans of sentimental YA dramas. The film is set to release in UK cinemas on June 26.

The Claustrophobic Narrative of 'Landship' Based loosely on a true story, Landship presents a unique challenge for its filmmakers: how to tell a war story without the logistical expense of massive set pieces. The solution is a narrative confined almost entirely within a single tank nicknamed Fray Bentos after the popular tinned pie. This setting forces the audience to endure the same sensory deprivation as the soldiers, creating a suffocating atmosphere that defines the film's tone. The Budgetary Constraints and Visual Impact The film's production strategy is evident in its visual execution. To keep costs down, the director, Callum Burn, utilizes a specific lighting scheme: whenever characters leave the tank, it is almost always night-time or shrouded in thick smoke and fog. While this creates a moody atmosphere, it also results in a muddy, indistinct visual palette where the enemy is hidden behind papier-mâché mud mounds. Consequently, the noble soldiers become difficult to distinguish, relying on moustaches and accents rather than facial features to identify the officers versus the working-class privates. Character Dynamics and Rising Tension Despite the visual limitations, the film succeeds in building internal conflict. Captain Richardson is determined to push the mission forward, while the crew grows increasingly frustrated as days pass. The tension peaks with the character Morrey, whose mutinous mutterings threaten to unravel the unit's cohesion. The narrative arc effectively tracks the psychological toll of being trapped in a metal coffin, questioning who will survive the ordeal. Directorial Evolution and Future Outlook Having previously directed Lancaster Skies, Spitfire Over Berlin, and Battle Over Britain, Callum Burn appears to be refining his craft. The film feels stolidly retro, bordering on a comedy send-up without the gags, yet it manages to draw solid emoting from the cast. As Landship opens in UK cinemas on 26 June, it stands as a testament to the potential of low-budget storytelling, though it serves as a reminder that creative constraints can sometimes obscure the very stories they aim to tell.

La Cabina: A Surreal Nightmare Antonio Mercero's La Cabina (★★★★★) is a cult 1972 surreal short film that lasts just 35 minutes but encompasses an entire dreamworld of anxiety. The film tells the story of a fussy middle-aged man, played by José Luis López Vázquez, who steps into a phone booth that has just appeared in a suburban sidestreet. However, the phone doesn't work, and he can't get out; the door is jammed. The Absurdity of El Televisor Narciso Ibáñez Serrador's El Televisor (★★★☆☆) from 1974 is a spirited but overextended satire on TV and its promotion of convenience and leisure. The film follows Enrique, a sad and mediocre little man who works all hours at his boring job to earn enough to provide for his family. He dreams of buying a brand new colour TV set, but once installed, he becomes maniacally obsessed with watching TV all day, every day. Exploring Themes of Anxiety and Surveillance Both films explore themes of anxiety, surveillance, and the impact of technology on society in Franco's Spain. La Cabina can be seen as a parable of surveillance and tyranny, while El Televisor critiques the effects of television on individuals and society. Release Details La Cabina/El Televisor is in UK cinemas from 19 June. The films will be released on Blu-ray from 20 July.

The Lead Girlfriends, directed by Tracy Choi, is an intimate queer coming-of-age drama that explores the life of a woman from high school to her mid-30s. The film employs a unique casting approach, with three actresses portraying the protagonist at different stages of her life. Non-Linear Storytelling and Character Development The film's narrative unfolds in reverse chronological order, beginning in Hong Kong where 34-year-old Lok (played by Fish Liew) lives with her girlfriend Bei (Jennifer Yu). As the story rewinds, we see Lok as a student in Taiwan, played by Elizabeth Tang, and later as a 17-year-old in Macau, portrayed by Natalie Hsu. This non-linear approach allows for a nuanced exploration of the protagonist's growth and transitions. Authentic Representation and Themes The film is notable for its natural-feeling moments, thoughtful scenes, and romantic portrayal of same-sex relationships. The story tackles themes of identity, love, and the challenges of growing up, particularly in the context of queer experiences. The film's approach to depicting these themes is characterized by its subtlety and authenticity. Cinematic Approach and Impact Choi's decision to cast different actresses for each stage of Lok's life adds to the film's emotional impact. While the actresses may not bear a strong physical resemblance, their performances capture the essence of their characters' journeys. The film's use of location, shifting between Hong Kong, Taiwan, and Macau, further enriches its narrative and visual landscape. The Prediction Girlfriends is set to resonate with audiences interested in queer cinema and coming-of-age stories. With its release in UK cinemas from June 19, the film is poised to spark conversations about identity, love, and the complexities of growing up.

The Enigmatic Ioannis Kapodistrias On a hilltop in central Corfu, a marble bust of Ioannis Kapodistrias gazes skyward, embodying the austerity and fine features of the man who gave up a powerful diplomatic position in Europe to build modern Greece. Kapodistrias's Diplomatic Career Kapodistrias spent years supporting Greek revolutionaries and negotiating with Britain, France, and Russia over Greece's borders and future. He then set about building the institutions, currency, courts, schools, and civil service that the modern state still stands on. The Divided Legacy Despite his significant contributions, Kapodistrias remains a divisive figure in Greece. Some view him as an enlightened despot, while others accuse him of being a tyrant motivated by selfish ambition. His legacy continues to spark debate about what Greece is and what it should have been. The Film Kapodistrias A new film, written and directed by Yannis Smaragdis, attempts to revive Kapodistrias's legacy. The film portrays him as a skilled diplomat and a complex character, but also highlights the tensions between his austere personality and the colourful warlords of Greece. The Future of Kapodistrias's Legacy As the film opens in UK cinemas, Kapodistrias's legacy continues to be reevaluated. With his story now confirmed as the fifth highest-grossing Greek film of all time, it is clear that his impact on Greece and its people will not be forgotten.

The Enigmatic World of Angel's Egg This 1985 anime is a true curio: a furtive, portentous odyssey into a hollowed-out landscape told largely in symbolist images. A million miles away from director Mamoru Oshii's often-logorrheic films (such as his best-known work, Ghost in the Shell from 1995), it still swills around plenty of philosophical concepts linked to his fascination with Christian theology. The Story Unfolds The waif (voiced by Mako Hyōdō) carries this ovum under her petticoats, like some pre-pubescent immaculate conception, while scavenging a dark, mittel-European-style city for flasks of water. One day, she's startled to see a skinny princeling (Jinpachi Nezu) step out from a giant mechanised war machine trundling down the street. Exploring Themes and Symbolism Oshii certainly breaks a few doctrinal eggs and gives them a good whisking here. The boy recounts a version of the Noah's ark story – but one in which the dove, and hope, never returned. Long silences and loaded questions suggest this might be what's he's looking for inside the girl's prize. Artwork and Atmosphere Overseen by conceptual artist Yoshitaka Amano, Angel's Egg's artwork is ravishing throughout. Stripped down to a pallid near-monochrome and using far fewer frames than the anime norm, it musters hypnotic eeriness and poise. Conclusion and Release Regardless, this unsettling parable has a scriptural concision and mystery. Angel's Egg is in UK cinemas from 17 June.

The Lead The 29th cinema outing for Conan Edogawa, the gumshoe forced to occupy a kid's body, is a briskly enjoyable whodunnit with high-class visuals and sharp character work. Motorbike Whodunnit Cranked Up to Top Speed Coming hard on the heels of last year's One-Eyed Flashback comes the latest cinema outing for Conan Edogawa (voiced by Minami Takayama), the gumshoe forced to occupy a kid's body. The franchise seems to have turned into Akira: the first 10 minutes opens not only with a seemingly phantom headless biker riding past Conan's gang in the countryside, but then three more choppers tearing up a Yokohama freeway like an urban wall of death. The Investigation Unfolds The half-pint sleuth and pals are on their way to a motorcycle convention, where the star of the show is Chihaya (Miyuki Sawashiro), the auburn-tressed elite bike cop who was pursuing the felons. The real torque of the town, though, is the mysterious black superbike that harries other two-wheelers; Conan tags on surreptitiously in wide-eyed-schoolboy mode, as he does, while Chihaya continues her investigation. The Verdict With a torn-from-the-headlines conspiracy revolving around automated vehicles and big data, Fallen Angel of the Highway thrashes through the gears of another briskly enjoyable whodunnit. But it's not completely convincing: Conan continues his habit of advancing the detective work in what feel like retroactively explanatory info-dumps, rather than organically teased-out revelations. The Future of the Franchise But the potboiler tendencies don't detract from the franchise's brio, which is fully on show in director Takahiro Hasui's high-class visuals. Sharp and idiosyncratic character work stands out against limpidly gorgeous cityscapes, making regular use of deep-focus effects for extra cinematic kick. Detective Conan: Fallen Angel of the Highway is in UK cinemas from 12 June.

Quick Take: A Darkly Comic Look at Mortality in Chinese CinemaBeing Towards Death opens in UK cinemas on 5 June, offering a chaotic first half‑hour before settling into a bittersweet ensemble piece about a hospital’s “Ward 10 Fearless Squad.” Director Chen Sicheng trades his blockbuster Detective Chinatown formula for a meditation on entropy, using humor to explore how patients confront the end of life.How Chen Sicheng Marries Hospital Humor with Existential QuestionsThe plot follows caregiver Xiaobing (Jiang Long), who teeters on a rooftop after a failed robot‑care scheme, only to be recruited by the hospital director into a mental‑health study for terminal cancer patients. He joins a motley crew – property mogul Mau (Cai Ming), obedient first‑born Bowen (Huang Yi), and the scheming poppet Little Bing (Ye Quanxi) – and convinces aspiring director Dao (Wang Zichuan) to document their lives. The film’s self‑referential moments, including Dao’s constant quoting of Chen and a cameo by sixth‑generation auteur Jia Zhangke, underscore its meta‑commentary on Chinese filmmaking.Box‑Office Prospects and Release WindowWith a limited UK release beginning 5 June, the film targets both art‑house audiences and fans of Chen’s earlier commercial work. No official budget or opening‑week figures have been disclosed, but the combination of a recognizable director and a timely, socially conscious premise positions it for modest box‑office returns and potential festival circulation.Why the Film Signals a Shift in Mainland Comedy‑DramaBy placing comedy inside a hospice, the movie challenges the genre’s traditional escapism, reflecting a growing appetite for stories that blend levity with serious social issues. Its focus on mental‑health interventions and the humanization of terminal patients may encourage other Chinese creators to tackle health‑related narratives, expanding the thematic range of mainstream cinema.What to Expect from the Film’s Journey Beyond ChinaIf domestic audiences respond positively, Being Towards Death could secure wider Asian distribution and possibly a streaming deal, amplifying its discussion of mortality to a global viewership. Critics will likely continue to compare Chen’s tonal shift with the work of auteurs like Jia Zhangke, watching to see whether the film’s “bittersweet” ambition matures into a new sub‑genre of Chinese hospital comedy‑drama.